Open Lands: Tree Planting in honor of National Arbor Day.

"Art is Business. 

On Arbor Day, the Village of Hazel Crest Beautification Commission hosted a Village Clean Up Day and Tree Planting, and the dedication of a new metal People Chair sculpture by artist Alpha Bruton at Art in the Woods. The event took place at the Hazel Crest Open Lands Arboretum on Saturday, April 25, 2026.

The afternoon included an outdoor digital photography workshop led by William G. Hill and a presentation on the AI-Narridin Plastic Woven Recycle Bag project, which covered the display logs.

Address:   Hazel Crest Police Department

 3000 W 170 Pl. Hazel Crest, IL 60429 

(Parking is available)

Installed at the Village of Hazel Crest Open Lands, Kedzie at 171st. 

Installation: April 18, 2026, Dedication of Sculpture: April 25, 2026, Village of Hazel Crest, Illinois

This is People Chair #29, of public art installations known as "Metal People Chairs," created by Shonna McDaniels, founder of the Sojourner Truth African Heritage Museum in Sacramento, California. Each chair in the collection honors artists of the Harlem Renaissance and the Works Progress Administration (WPA). 

The Harlem Renaissance marked the emergence of Harlem, New York City's Black cultural mecca in the early 20th century—a center of social, artistic, and intellectual flourishing. Lasting roughly from the 1910s through the mid-1930s, the era is widely regarded as a golden age of African American culture, expressed through literature, music, theater, and visual art.

The Works Progress Administration (WPA) was an ambitious employment and infrastructure program created by President Franklin Roosevelt in 1935, during the bleakest days of the Great Depression. Over its eight years of existence, the WPA put roughly 8.5 million Americans to work building schools, hospitals, roads and other public works. Perhaps best known for its public works projects, the WPA also sponsored projects in the arts—the agency employed tens of thousands of actors, musicians, writers and other artists.

The Hazel Crest Open Lands "Art in the Woods." This placemaking project is an exciting initiative that aims to transform our community's landscape by blending art with nature. This project seeks to engage residents throughout the process, inviting them to participate in both the design and installation of a captivating collection of sculptures. These artworks will serve as visual focal points and promote connection during community gatherings.

Pickup and delivery day at Peter N Gray Studio, young, enterprising artists to assist with movement. 

My family came out to celebrate: Herbert Raney Jr, Jazmin Bruton Davis, and Dani Davis.

Location of the Sculpture Installation facing 171st/Kedzie Open Lands

Alpha Bruton- Artistic Statement: My "Curatorial Practice" spans 46 years.

This project is essential to my career trajectory because I am focused on creating art in non-traditional settings as an environmental installation artist, working outside the traditional gallery context. I have traveled nationally and internationally as a resident artist, engaging communities in the art of artmaking in empty lots, national forest preserves, on land held in conservancy, in alternative galleries, and in museum settings. 

William G. Hill Center for the Arts

Digital Photography Workshop Presented by William G. Hill

William G. Hill founded the William G. Hill Center for the Arts (WGHCA), a non-profit organization dedicated to enhancing the Woodlawn community in Chicago. The mission of WGHCA is to support and improve creative and artistic expression. The organization aims to design programs that enhance, beautify, and revitalize communities physically, socially, and economically, utilizing multi-platform, culturally informed approaches to art and nature.

This placemaking project was a collaborative team: 

The Village of Hazel Crest Board of Trustees, Beautification/Open Lands Commission. 

Public Alpha Bruton, lead artist and muralist; Peter N. Gray, fabrication of the metal chair; and Harry Detry, embellishment of metal leaves. Works Department.  

William G. Hill Center for the Arts, the Phantom Gallery Chicago Network, and Allies for Community Business Chicago. 

RESEARCH:

MARGARET BURROUGHS

The Composition:

MARGARET BURROUGHS, an artist advocate for art, founded the Southside Community Art Center, the DuSable Museum, and the African American Association of Museums. An active member of the African American community, she also helped establish the South Side Community Art Center, which opened on May 1, 1941, and was dedicated by the first lady of the United States, Eleanor Roosevelt. There, at the age of 23, Burroughs served as the youngest member of its board of directors. A long-time educator, she spent most of her career at DuSable High School.

Taylor-Burroughs was a prolific writer, with her efforts directed toward exploring the Black experience and toward children, especially in fostering their appreciation of cultural identity and in introducing them to art and fostering their growing awareness of it. 

Freedom Railroad Quilt Patterns

Why Railroad Quilts Design? Great Migration

In 1890, William McClintock relocated from Ohio to Hazel Crest, where he established a depot for a local milk train. This depot became a vital transportation hub to Chicago and beyond, serving as the area's first real estate office, a public meeting space, a Sunday school, a day school, and the local post office.

The Underground Railroad, often misunderstood, was not an actual railway but a secret network of courageous individuals who helped enslaved people escape from the South during the 19th century. These escapees traveled to hidden "safe houses," guided by the North Star, toward northern states and Canada, where freedom awaited them.

Embellishment of wrought iron leaves, by Harry Detry

Installation of Ivy leaves attached to the screws from the back of the 1/8 " Metal plate.

Metal Oak Leaf flattened, and edges sanded smooth.

The oak leaves are attached to the metal with two rivets, creating a flush surface.

Chair fabricated by Peter N. Gray of Metal-i-genics Studio.o

Concrete pad 46" x 46"

Apply the primer coat, position the leg flaps, and ensure that the screws face each other from the inside.

Added a lip to attach to the top of the chair frame

Metal panels were delivered in two pieces for the chair's seat and back.

THE FABRIC OF FREEDOM: QUILTS AND THE UNDERGROUND RAILROAD

The Fabric of Freedom: Quilts and the Underground Railroad Denise Brown

This color study of the headpiece was based on the YouTube video "Celebrating Black History Month." Presenting Sunshine Coast artist Denise Brown's Fabric of Freedom collection, including 19 square watercolor paintings that honor the quiet revolution of the Underground Railroad through the unique, mysterious storytelling quilts that represent.

This mosaic tile work by Thomas Hill was used for her portrait composition. The portrait of the museum's founder, Margaret Taylor Burroughs, is as resistant to fading as her artistic legacy.

The texture and three-dimensional quality of mosaic wall art interact with the light and the angle of viewing. The timeless quality of mosaic portraits seems to resonate with all of us. The DuSable Museum of African-American History in Chicago has several fine mosaic tributes to influential figures. 

I have always used color studies and clipping files to create collages of the ideas that inspire my compositions. These come from sources such as Paper Quilting, photos of pops of color in the natural environment of the Open Lands, and a leaf-printing workshop held there. 

 I like the texture and the use of leaf-printing.  

   Color studies for my head adornment

Texture leaves study for the seat

Black Soil: Our Roots Run Deep Exhibition – January—March 2026

"Art is Business" An exhibition by the Sojourner Truth African Heritage Museum at the Sacramento History Museum. 

African American agricultural history is a rich legacy marked by the forced labor of enslaved people who brought crucial skills from the motherland; the post-slavery struggle for land ownership amid systemic discrimination; and the groundbreaking innovations of figures like George Washington Carver and Henry Blair. Despite a significant decline in Black farm ownership due to discriminatory lending and other barriers, this history continues to be shaped by cooperative movements and a deep connection to the land. This exhibition will honor the legacy of African Americans in Agriculture on both a broad scope and a local perspective.

We are excited to have a host of community partners bringing knowledge, artistic talents, art and artifacts to this exhibition.

Community partners include:

Sacramento History Museum- Executive Director, Delta Mello, and Heather Reynolds, Museum Exhibits Manager: 

Sojourner Truth African Heritage Museum- Shonna R. McDaniels, executive director, Project Manager, and Artist in Sacramento.

Clarence George III, Ph.D., Assistant Professor/Director of the Cooper Woodson College Enhancement Program, Pan African Studies Program, Department of Ethnic Studies

“If you can control a man's thinking you do not have to worry about his action. When you determine what a man shall think you do not have to concern yourself about what he will do.  If you make a man, feel that he is inferior, you do not have to compel him to accept an inferior status, for he will seek it himself. If you make a man, think that he is justly an outcast, you do not have to order him to the back door.  He will go without being told; and if there is no back door, his very nature will demand one.”  

― Carter G. Woodson, The Miseducation of the Negro (1933) 

Dr. Tanisha Jackson, Assistant Professor in African American Studies and Director of the Community Folk Art Center at Syracuse University.

CSUS Sankofa Research Team, Sacramento State University (Sankofa Group), 

California State University, Sacramento, Internship & Student Development Manager, Graduate Research Lead, Sankofa Museum Project.

CSUS IMPACT Fellow, Ethnic Studies & Psychology Researcher

Dr. Miller, the new Chair of the Art History Department at Sacramento State University

Professor Alana Infinity

Professor Sade Turnipseed -Cassie Sade Turnipseed, MS, MBA, PhD  

Yisrael Farm

Featured  Artists Installation

Artist Curtis Wayne Riley Jr

Artist Helen Plenert (Cotton and Carver wood installations)

Gallery 157 co-owners Milton Bowens and Daphne Burgess

Photographer Kareem Daniels

Featured Shovel  Installation Artists

Alpha Bruton, Phantom Gallery Chicago- artist/chief curator, and archivist for Pop Up Research Station.

Shawntay Gorman, 

Lee McCormick

Niamah McDaniels

Shonna McDaniels - artist/activist/muralist/archivist

Judah Pimentel

Helen Plenert

GOS ( Gerry Simpson)

 

"Act as if what you do makes a difference, it does" ~ William James

DEAR JAZZ 2024- ART EXHIBITION and JAZZ CONCERT

"Art is Business." Get your tickets at JazzInChicago.org/dear-jazz

I am thrilled to have my artwork in the Dear Jazz 2024. This art exhibition with live music is on November 8 and 9 at Fulton Street Collective at 1821 W. Hubbard. The Jazz Institute of Chicago produced the show curated by Raymond A. Thomas. I'll be one of over 25 important Chicago artists presenting. 

STATEMENT BY RAYMOND A. THOMAS

Dear Jazz is a vibrant and immersive art exhibition and concert that pays tribute to the soulful legacy of jazz music. Through a dynamic collection of visual works by some of Chicago's top artists, this exhibition captures the rhythm, improvisation, and emotional depth that have defined jazz throughout history. These works act as a heartfelt "love letter" to the genre, interpreting the essence of jazz's sound, spirit, and cultural significance. Drawing inspiration from the greats like Miles  Davis, John Coltrane, Billie Holiday, and many more, these chosen artists explore jazz's themes of freedom and innovation,  reflecting its role as a musical and cultural force. 

Dear Jazz invites all on a multisensory journey through jazz's history, present, and future. It celebrates how jazz transcends sound to become a universal language of expression, spontaneity, and joy.

If I Could Change Back the Hand of Time, 24" X 26" x 2", Mixed Media, Acrylic Collage, 2024

"Turn Back The Hands Of Time" by Tyrone Davis was on my mind as I named this composition. Remembering the lyrics and what he is singing about in the ℗ 1970's. It's an R&B song recorded by various artists, like Eddie Fisher's Orchestra in 1951 and 1970s, and even R. Kelly, Cher, and David Ruffin have a version. But the lyrics resonate with me, "Turn Back the Hands of Time" is based on relationship problems Moore was having at the time. Daniels co-wrote Davis's 1968 hit "Can I Change My Mind," and the recording session for "Turn Back the Hands of Time" included some of the same musicians from that session.

DEAR JAZZ- I didn't abandon you in the 1970s disco age, didn't abandon you to R&B, didn't abandon you to Reggae, nor did I turn my back on you as I listened to techno. I loved you through it all. My first Jazz Concert was the Monterey Jazz Festival in 1975. Growing up on the West Coast, jazz profoundly influenced my playlist.

"West Coast jazz refers to styles of jazz that developed in Los Angeles and San Francisco during the 1950s. West Coast jazz is often seen as a subgenre of cool jazz, which consisted of a calmer style than bebop or hard bop. The music relied relatively more on composition and arrangement than on the individually improvised playing of other jazz styles. Although this style dominated, it was not the only form of jazz heard on the American West Coast."

Jazz is a music genre that originated in the African-American communities of New Orleans, Louisiana, in the late 19th and early 20th centuries. Its roots are in blues, ragtime, European harmony, and African rhythmic rituals. Since the 1920s Jazz Age, it has been recognized as a significant expression in traditional and popular music. 

Dear Jazz, the genres highlighted in Bold Black are my favorites:

• Acid jazz combined elements of soul music, funk, and disco, including looping beats and modal harmony the 1980s–1990s
• Afro-Cuban jazz mixes Afro-Cuban clave-based rhythms with jazz harmonies and techniques of improvisation. 1940s.
• Avant-garde jazz is a music and improvisation style combining avant-garde art music and composition with jazz. It originated in the 1950s and developed through the 1960s. 
• 1950s Bebop or bop is a jazz style characterized by a fast tempo, instrumental virtuosity, and improvisation based on a combination of harmonic structure and occasional references to the melody.
• 1940s—A big band is a type of musical ensemble, in essence, a jazz orchestra, that typically consists of at least ten musicians and four sections.
• 1910s -British dance band is a popular jazz and dance music genre that developed in British dance halls and hotel ballrooms during the 1920s and 1930s. 1920s 
• Cape Jazz (more often written as Cape Jazz) is a jazz genre performed in the southernmost part of Africa, the name being a reference to Cape Town, South Africa. 1990s 
• Chamber jazz Chamber jazz is a genre of jazz involving small, acoustic-based ensembles where group interplay is important. 1960s 
• Continental jazz Early jazz dance bands of Europe in the swing medium, to the exclusion of Great Britain.
• Cool jazz Contrasts with the hard, fast sound of bebop. A more relaxed, subdued style, with more formal arrangements and elements, such as swingswing and classical. 1940s–1960s
• Crossover jazz artists mix different styles of music into jazz. 1970s 
• Dixieland music or New Orleans jazz, sometimes referred to as hot jazz or early jazz, is a style of jazz music that developed in New Orleans at the start of the 20th century. Stylistically, it is essentially a form of Ragtime typically transposed for brass band, banjo, or clarinet. 1900s 
• Electro Swing is a modern interpretatioSwingSwing that merges with EDM. Performances typically include both a live band and a DJ. 1990s 
• Ethio-jazz is a specific form of jazz that evolved in Ethiopia in the music of Mulatu Astatke, also referred to as the King of Ethio-jazz.1950s 
• Ethno jazz, a form of ethnic music, is sometimes equated to world music or is regarded as its successor, particularly before the 1990s. An independent meaning of "ethno-jazz" emerged around 1990. 1990s
•  European free jazz is a part of the global free jazz scene and has its own development and characteristics from the 1960s 
• Flamenco jazz is a style mixing flamenco and jazz, typified by artists such as Paco de Lucia and Camarón de la Isla. 1960s 
• Free funk: A combination of avant-garde jazz with funk music in the 1970s 
• Free jazz Free improvisation is improvised music without any specific rules. By itself, free improvisation can be any genre; it isn't necessarily jazz. Free jazz musicians use free improvisation to alter, extend, or break down jazz conventions, often by discarding fixed chord changes, tempos, melodies, or phrases. Ornette Coleman was an early and noted advocate of this style. 1950s 
• Gypsy jazz style of jazz music is often said to have been started by guitarist Jean "Django" Reinhardt in the 1930s. The style was originally called "hot club" or "hot jazz" and served an acoustic European interpretation. The term "gypsy jazz" didn't appear until after the 1970s, when Sinti people adapted their folk music to emulate that of Django. 1930s/1970s->
• Hard bop Incorporated influences from rhythm and blues, gospel music, and blues, especially in saxophone and piano playing. 1950s 
• Indo jazz Fusion of jazz with Indian music (see also Sitar in jazz and Jazz in India). 1950s ->
• Jazz blues Although not a distinct style, jazz blues is typically used to refer to songs that include idiomatic "jazz" embellishments to the standard form, such as extended harmony and chord substitutions. At a minimum, jazz blues usually include a ii–V progression in place of the simple V chord and an I–VI/vi–ii–V turnaround at the end of the form.
• Jazz-funk is a subgenre of jazz music characterized by a strong backbeat (groove), electrified sounds, and an early prevalence of analog synthesizers.1970s 
• Jazz fusion combines elements of jazz and rock. Characterized by electronic instruments, riffs, and extended solos. 1970s 
• Jazz poetry1920s 
• Jazz pop
• Jazz rap is a fusion subgenre of hip-hop and jazz, developed in the late 1980s and early 1990s. The lyrics are often based on political consciousness, Afrocentrism, and general positivism. 1980s 
• Jazz-rock The term "jazz-rock" (or "jazz/rock") is often used as a synonym for the term "jazz fusion." 1960s 
• Jump blues 1930s 
• Kansas City jazz is a style of jazz that developed in Kansas City, Missouri, and the surrounding Kansas City Metropolitan Area during the 1930s.
• Latin jazz draws heavily on salsa and merengue influences. Heavy use of percussion, including congas, timbales, bongos, guiros, and others. 1930s
• M-Base 1980s 
• Marabi 1920s–1930s
• Mainstream jazz is A genre of jazz music that was first used about the playing styles around the 1950s 1950s ->
• Modal jazz, as pioneered by Miles Davis, among others, is characterized by using modes, such as dorian modes, as the primary organizing element.
• Neo-bop jazz, notably associated with Wynton Marsalis, is a comparatively accessible, "retro" genre that emerged in the 1980s as a stylistic reaction against free jazz and jazz fusion. 1980s 
• Neo-swing: The name was given to the renewed interest in swing music from the 1930s and 40s. Many neo-swing bands practiced contemporary fusionSwingswing, jazz, and jump blues with rock, punk rock, ska, and ska-punk music or had roots in punk, ska, ska punk, and alternative rock music.1990s 
• Jazz noir is a form of slow or erratic contemporary jazz. Jazz noir (also known as "doom jazz" or "dark jazz") is noted for its often somber, mysterious, or even sinister tone. It takes inspiration from film noir soundtracks and dark ambient music. 1990s 
• Nu jazz music blends jazz elements with other musical styles, such as funk, soul, electronic dance music, and free improvisation.1990s 
• Orchestral jazz, Also known as "Symphonic Jazz" in the 1920s 
• Post-bop: A genre of small-combo jazz that assimilates hard bop, modal jazz, avant-garde, and free jazz without necessarily being immediately identifiable as any of those forms in the 1960s 
• Punk jazz is the amalgamation of elements of the jazz tradition (usually free jazz and jazz fusion of the 1960s and 1970s) with the instrumentation or conceptual heritage of punk rock 1970s and 
• Ragtime 1890s 
• Samba-jazz 1950s 
• Ska jazz music was derived by fusing the melodic content of jazz with the rhythmic and harmonic content of early Jamaican Music introduced by the "Fathers of Ska" in the late 1950s. It is sometimes considered a subgenre of Third-Wave Ska. 1960s 
• Skiffle 1950s ->
• Smooth jazz In general, a smooth jazz track is downtempo (the most widely played tracks are in the 90–105 BPM range), layering a lead, melody-playing instrument (saxophones – especially soprano and tenor – are the most popular, with guitars a close second) over a backdrop that typically consists of programmed rhythms and various synth pads or samples. 1960s 
• Soul jazz Draws heavy influences from hard bop, blues, gospel, and rhythm and blues. It is often characterized by organ trios. 1950s 
• Spiritual jazz 1960s 
• Straight-ahead jazz is A form of Jazz created in the 1960s with roots from the previous two decades. It omits elements from rock music and free jazz that began to appear in this period, instead emphasizing acoustic instruments and a more conventional sound. 1960s 
• Stride jazz A style of jazz piano which incorporates left hand techniques from ragtime music, except the left hand spans a greater distance on the keyboard. 1920s 
• Swing Big band arrangements, always swung. Pioneered by Duke Ellington, Count Basie, and Benny Goodman. 1930s–1950s
• Third stream: The fusion of the jazz stream and classical stream. 1950s
• Trad jazz, Short for "traditional jazz," refers to the Dixieland and ragtime jazz styles of the early 20th century.
• West Coast jazz is a style of jazz that emerged in Los Angeles and San Francisco during the 1950s. It is often considered a subgenre of cool jazz, characterized by a smoother and calmer sound compared to bebop or hard bop. This style emphasizes composition and arrangement more than individual improvisation, which is more prominent in other jazz genres. While West Coast jazz was a dominant style in the region, it wasn't the only type performed on the American West Coast.

Reference:

https://en.wikipedia.org/wiki/West_Coast_jazz

en.wikipedia.org › wiki › List_of_jazz_genresList of jazz genres - Wikipedia

Ashley Gets Sneak Peek at Mural You Can Help Paint!

California State Railroad Museum Foundation and Partners Launch

“Community Mural Engagement,” Project Managers, and mural team: Shonna McDaniel's, Alpha Bruton,  Markos Egure, Henry "Fisko" Fisk, Judah X. Pimentel.  Aisha L. Abdul Rahman, MLIS, Ph.D. Archivist & VR Curator

Carly Starr (she/her) │ Special Projects Manager, California State Railroad Museum Foundation

Kim Whitfield,  Chief of Interpretation at The California State Railroad Museum

Sacramento, CA (Wednesday, October 9, 2024)

Sojourner Truth African Heritage  Museum proudly announces our participation in the California State Railroad Museum Foundation and the California State Railroad Museum's Community Engagement project. The Sojourner Truth African Heritage Museum facilitated two "Community Mural Input Sessions" on Saturday, July 20th, at 10 am and Friday, July 26th, at 5:30 pm at the Stanford Gallery at 111 I Street in Old Sacramento.

We gathered input from the community that reflects the oral stories and images of the California Railroad. The project will conclude with an installation that includes 2D and 3D art, land/earth art, and technology-centered art through community engagement activities. This will be held at the California State Railroad Museum.

The California State Railroad Museum — your museum — is the keeper of stories. Together, we collect them, we preserve them, and we tell them. Share your railroad stories and connections.

https://www.californiarailroad.museum/my-story

ABOUT 

California State Railroad Museum Foundation

The California State Railroad Museum Foundation (CSRMF) is an official cooperating association with California State Parks and a 501(c)(3) organization. It provides funding for ongoing support of numerous programs at the California State Railroad Museum in Old Sacramento and Railtown 1897 State Historic Park in Jamestown. The CSRMF's mission is to generate revenue and awareness on behalf of its destinations while supporting the preservation, interpretation, and promotion of our railroad heritage.

Sojourner Truth African Heritage Museum 

Sojourner Truth African Heritage Museum (SOJO) offers programs and services that educate youth, families, and the community about diversity, inclusion, and history by engaging them in hands-on art-making, cultural opportunities, and educational experiences. Our mission is to open minds and change lives by exploring and celebrating African American history, experiences, and culture through art and wellness education and outreach.

# # #

Final Approved Draft for Mural "Past/Present/Future of Innovation & Invention"

 RA West and Markos Egure of Artners

The Team: Shonna, Juda, Fisko, Aisha, and Markos

Fisko with volunteer 

Shonna and Juda in front of the line work outlines of the mural.

Activities took place in the Hardware Store.

Collaborations with partnering Sacramento History Museums. 

Youth from the Rose Foundation, Cross-Sector partner.

Markos giving instructions Cross-Sector partner ARTNERS

 Aisha L. Abdul Rahman, MLIS, Ph.D. Archivist & VR Curator

Director Legacy Design Studio Concept for AR/VR 

Tactical Urbanism in the Horizontal Landscape. "Soundscape Tapestry"

Artist in Residence Programs Tactical Urbanism Music Soundscapes

Reggie Nicholson-Drummer, Percussionist, Composer The instantly recognizable style and sound of Reggie Nicholson has elevated him to one of the most distinctive, inventive, and inspirational drummer/percussionists of his generation; a formidable technician, but one who uses his considerable skills constructively and with infinite taste.

Tactical Urbanism, in the Horizontal Landscape, "Soundscape Tapestry."  This collaborative project will utilize sound and visual art in a public installation. Soundscape Tapestry will echo the African-American music experience unique to the sounds of Chicago. In addition, they are introducing a new sector of experimental film projections in the public space, curated by Alpha Bruton, ambitious new video projections of current artworks created during the residency project. Two thousand twenty-two project plans are to host and collaborate with composer Reggie Nicholson and develop platforms for exploration and creating new works.

They are using tactical urbanism and contributing to the horizontal landscape to expose pedestrians and tourists to the experience of what is viewed inside the gallery. Will create a dynamic platform for large-scale installations, moving image works, and sound performances, which did not have a dedicated space at the Bronzeville Art District Trolley Tours in prior years. Music and performances from collaborating artists accompany all the projections. Artist in Residence Programs, Tactical Urbanism, Music, and Soundscapes are some of the key elements of Reggie Nicholson's work. As a drummer, percussionist, and composer, Nicholson has developed a unique and recognizable style that has earned him a reputation as one of the most inventive and inspirational musicians of his generation. He is a formidable technician who uses his considerable skills constructively and tastefully.

One of Nicholson's latest collaborative projects is called "Soundscape Tapestry." This project combines sound and visual art in a public installation that aims to showcase the African-American music experience unique to the sounds of Chicago. To achieve this, the project will use tactical urbanism and contribute to the horizontal landscape to expose pedestrians and tourists to the experience of what is viewed inside the gallery.

The project will also introduce a new sector of experimental film projections in the public space, curated by Alpha Bruton, showcasing ambitious new video projections of current artworks created during the residency project. The 2022 project plans are to host and collaborate with Reggie Nicholson and develop platforms for exploration and creating new works.

This project aims to create a dynamic platform for large-scale installations, moving image works, and sound performances that did not have a dedicated space at the Bronzeville Art District Trolley Tours in prior years. All the projections will be accompanied by music and performances from collaborating artists.